Ed Schrader's Music Beat share the Philip Leaman directed music video (produced by Standard Joy Productions) for "Dunce" taken from upcoming album, "Riddles," out March 2nd on Carpark Records. Watch above.

Ed Schrader’s Music Beat is a Baltimore-based post-punk band consisting of Ed Schrader and Devlin Rice. Ed and Devlin first met nearly a decade ago while performing in separate acts on the legendary 2008 Baltimore Round Robin tour (curated by Dan Deacon and also including Beach House and Future Islands).

Since forming in 2010, the duo has mounted 19 tours of the U.S., frequently opening for Future Islands, and sharing stages with such acts as No Age, Lightning Bolt, Matmos, and Ceremony. The Music Beat originally worked in a maximalist drums, bass, and vocals mode, releasing the noise-rock full-lengths Jazz Mind (Load Records, 2012), and Party Jail (Infinity Cat Recordings, 2014). Their song “Sermon” is used in the Adult Swim short Unedited Footage of a Bear, and “Rats” appears in Theo Anthony’s feature documentary Rat Film.

For their game-changing new record Riddles, Ed Schrader’s Music Beat has teamed with producer and co-writer Dan Deacon to broaden their sonic palette and explore the possibilities of the art-rock and alt-rock genres.

Rustin Man aka Paul Webb has announced his return. Webb, formerly the bass player in Talk Talk, will release his new album Drift Code on February 1st 2019 via Domino. Additionally, Rustin Man has shared the opening song, ‘Vanishing Heart’, watch above.

Webb has released one record under the moniker Rustin Man so far, the superb Out Of Season in 2002 - a collaboration with Beth Gibbons of Portishead.The long-awaited album has a warm, wise kind of euphoria to it, coupled with an acute sense of storytelling and surreality. Webb, who for the first time has written songs specifically for his own voice, turns out to be a gifted character actor, adopting various vocal roles across the songs. In ‘Vanishing Heart’, he is someone liberated from a loveless relationship: “At last I’ve found more warmth to feeling / It feels so good to be alive”.

As you might expect from someone of Webb’s pedigree, Drift Code is a deep, detailed work. The passage of time, the living space full of art, treasured objects and junk, the years spent listening to film music and ‘40s standards are all audible. But there’s a surprising spontaneity to it too. Though he did much of it alone, Webb’s recording technique made the music feel as if it has been recorded by a group of musicians playing in the same room. Raw demos written on a Dictaphone provided the basis for tracks begun with drums played by Webb’s former Talk Talk and O’rang colleague Lee Harris.

“I called the album Drift Code as it’s an oxymoron, a code is something fixed, but our instinct is to wander, to drift. I like the idea that life is a puzzle that can’t be solved because the answer is always changing.”

Its’ been two years since the Isle of Wight’s Plastic Mermaids have released a new record and now the five-piece band are back with a new psychedelia-infused, indie-pop single ‘1996’ with an amusingly genius & heart-warming video to accompany the release, which was entirely conceptualised, directed and produced by the band. Watch above.

Plastic Mermaids are a five-piece band featuring brothers Jamie and Douglas Richards, who collaborate on vocals, synths and samples, along with guitarist Chris Newnham, bassist Tom Farren and drummer Chris Jones.

“Making the video was kind of fun but more often hilariously awkward, all of the shots where we were out in public were pretty hard work and we got a LOAD of dodgy looks. Also the robot was pretty uncomfortable to wear, and SUPER warm. There’s probably a bit of deeper meaning maybe to do with how we live in modern life but i’d like to remain kind of vague on that and let people make up their own minds. “

Plastic Mermaids released debut EP ‘Dromtorp’ in March 2014 to widespread critical acclaim, following up with the ‘Inhale The Universe’ EP in March 2015 and third EP ‘Everything Is Yellow and Yellow Is My Least Favourite Colour’ in June 2016.

These New Puritans, the great heretics of British music, return with Into The Fire, their first new studio recording since 2013’s critically acclaimed album Field of Reeds. Into The Fire, featuring Current 93’s David Tibet, is available via Infectious Music. The Into The Fire artwork is a collaboration between George Barnett and the award winning photographer and director Harley Weir. Listen above.

It’s been a decade of sonic innovation since the band released their debut album Beat Pyramid. In the years since, they’ve successfully blurred the distinctions between rock, classical, electronic, pop and experimental music, earning rave reviews and praise from artists as diverse as Björk, Massive Attack and Elton John along the way.

Now, reverting to the original duo of brothers Jack and George Barnett, These New Puritans open a new chapter with the industrial electronics of Into The Fire. Writing sessions began in Essex in 2015 and were completed in Berlin after Jack relocated there; the majority of recording was done in a former Soviet broadcasting studio in the city’s industrial suburbs.

“The new music is much more primitive,” explains Jack. “We want to make our music as direct and as powerful as possible - straight to the nervous system.” “We wanted this to be about us working together on something really pure and progressive,” adds George. “The melodies and Jack’s voice are much more important this time around.”

2008’s debut Beat Pyramid, a circular work of fast rhythms, repetitive lyrics and fractured field recordings, stood out like a sore thumb amongst the conservative, guitar-based music of the period. The follow up, Hidden (2010) defied expectations, combining brutal Japanese Taiko drums, dancehall rhythms and austere woodwind (Jack taught himself musical notation to score the album's orchestral arrangements). After appearing on Björk’s Bastards remix album, TNP then released the cinematic Field of Reeds in 2013, followed by EXPANDED: Live at the Barbican (2014). Since then, Jack and George’s desire for new sonic challenges saw them produce the musical score for the first authorised theatrical production of Aldous Huxley’s Brave New World.

Noah Lennox's sixth solo album as Panda Bear is Buoys, due out February 8th, 2019 on Domino. The first song to be released from Buoys is “Dolphin”: Lennox’s bright, sincere voice front and center, with miles of space surrounding it, a guitar and some textured samples fleshing out the dubby sparseness and undercurrent of speaker-limit-pushing sub-bass low-end. Watch above.

Buoys was co-produced and co-mixed by collaborator Rusty Santos in Lennox’s adopted home of Lisbon, Portugal. Lennox and Santos last collaborated on the landmark Panda Bear album Person Pitch, which had its 10-year anniversary last year.

Animated by their ongoing interest in contemporary music production techniques, Lennox and Santos envisioned something that would “feel familiar to a young person’s ears.” However, Buoys retains a deep layer of experimentation coursing through the hyper-modern production – a hallmark of Panda Bear releases that will feel intimately familiar to fans of Lennox’s decade-plus body of work.

Alongside Santos, Buoys also features collaborators in Chilean DJ/vocalist Lizz and Portuguese musician Dino D'Santiago, both artists who came to Lennox via Santos’ recent trap and reggaeton production work; the former contributes arrangements throughout the album including “Dolphin,” and both lend their vocals to “Inner Monologue."

Buoys is the first Panda Bear release since 2018's vinyl-only EP A Day With the Homies, and the follow-up to 2015's kaleidoscopic full-length Panda Bear Meets the Grim Reaper. "The last three records felt like a chapter to me, and this feels like the beginning of something new," says Lennox whilst surveying how Buoys relates to the estimable Panda Bear catalogue. Indeed, the forthcoming Buoys is full of fresh ideas from one of modern music's most fascinating, innovative, and emotionally generous artists.

Following the release of new EP from Seamus Fogarty, The Old Suit, featuring two new original tracks and remixes by Django Django and James Yorkston. Seamus is pleased to share the video for the title track. Watch above.

“The tongue in cheek idea behind the clip is for it to represent 'The Last Music Video Ever Made'. This is to reflect the mournful elements of the song, a kind of 'waving goodbye to the format'. The more psychedelic elements of the track are represented by Seamus as a floating space creature, distorting and warping as he looks down on the earth-bound video as it slowly zooms away.

I used a variety of techniques including re-filming parts of the video by pointing a lens-less camera at the monitor screen and exposing Seamus to dangerously high level 'warping rays'. In space.”

Today, Flasher share their new video for Constant Imagestand-out single ‘Material’. This strange and hilarious video, directed by Nick Roney, breaks the fourth wall in an utterly unique and post-modern way. It can confidently be said that a video similar to this does not exist. Rather than spoil it with tedious description, please view it for yourself. Watch above.

Following the release of her recent track “Mellow” featuring Shygirl comes “Started Out”, the brand new single from Georgia, her second single of 2018. Watch the Rosie Marks directed video above.

“Started Out” is an upbeat and euphoric track infused with hedonism and influences from the Chicago house scene of the 80s. Using the same original 909 drum machines & sequential analogue synths used by dance legends of the 80s & 90s, “Started Out” is another shining example of Georgia’s flair in the studio; melting her thrilling pop lyricism, with her rich wealth of experience in the studio.

The video, featuring Georgia, was shot and directed by Rosie Marks, who was recently included in the 2018 Dazed 100 list. Georgia says about the track:

“Started Out is about that exciting sensation that comes from the beginning of something, maybe meeting someone for the first time and getting a sensation/thrill out of it all. It’s hard to maintain though, and you don’t want to lose it. But we can be bold, take risks, be young fools, and not be able to understand what it all means but know that someone will love us for it.”

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